A  STUDY  OF  VIRGIL'S 
DESCRIPTIONS  OF  NATURE 

ABEL  LOUISE  ANDERSON 


STUDIES  IN  LITERATURE 


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SITY  OF  CALIFORNIA 
LOS  ANGELES 


A  Study  of  Virgil's 
Descriptions  of  Nature 


BY 


MABEL  LOUISE  ANDERSON 


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*       ••  1        ». 


BOSTON:  RICHARD  G.  BADGER 

TORONTO:      THE    COPP    CLARK    CO.,   LIMITED 


Copyright,  1916,  by  Richard  G.  Badger 


AH    Rights   Reserved 


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The   Gorham   Press,    Boston,   U.    S.   A. 

MADE  IN  THE  UNITED  STATES  OF  AMERICA 


INTRODUCTION 

Li 

^  It  Is  difficult  to  discuss  poetic  descriptions  both 
§  sympathetically  and  judicially.  It  is  equally  dffiicult 
^  to  analyze  the  technique  of  any  artistic  production 
•J  without  entailing  the  loss  of  its  beauty.  But,  inas- 
^  much  as  all  artistic,  technical  principles  have  been 
o  formulated  through  such  minute  analysis,  it  has 
to  not  seemed  inappropriate  to  examine  these  prin- 
^    ciples  of  artistry  which  Vergil  followed,  consciously 

0  or  unconsciously,  in  his  descriptions  of  nature. 

In  studying  these  descriptive  passages  it  has  been 
thought  best  to  classify  and  study  them  under  two 
-     main  groupings. 

I.     The  Static  descriptions  in  which  the  local 
point  of  view  does  not  change. 
i         II.  The  Active  descriptions  in  which  the  local 
point  of  view  constantly  changes. 

These  main  divisions  may  be  subdivided  Into : 

(a)  The  formal  description  for  which  the  poet 
has  set  aside  his  narrative. 

(b)  The  incidental  description  which  has  crept 
into  the  work  without  intention,  and  which  is  so 

<n  short  that  it  does  not  interrupt  the  narrative. 

J*        Among  the  incidental  static  descriptions  there 

1  are  many  "thumb-nail  sketches"  of  word  length 
?  which  are  of  value  to  this  discussion  only  as  they 
I  illuminate  the  study  of  sense-appeals. 

The  descriptions  of  the  above  classes  have  been 
examined  with  reference  to  their  point  of  view — 
that  of  person,  place,  and  time — their  general  out- 
line, center,  mood,  and  their  sense-appeals.  It  was 
the  desire  of  the  writer  to  study  also  the  climax 
and  illustrative  imagery  of  these  passages,  but  that 
could  not  be  embraced  within  the  limits   of  the 

present  discussion. 

******* 


ovews* 


The  texts  of  Vergil's  works  upon  which  this 
thesis  has  been  based,  are  as  follows : 

Conington,  John,  Vergili  Opera,  1898. 

Kennedy,  B.  H.,  P.  Vergili  Maronis  Opera, 
1895. 

Papillon,  T.  L.  &  Haigh.,  A.  E.,  P  Vergili 
Maronis  Opera,  1892. 

Ribbeck,  Otto,  P  Vergili  Maronis  Opera,  1904. 

Other  literature  consulted  Is  as  follows: 

Sellar,  W.  Y.,  Roman  Poets  of  the  Augustan 
Age,  Vergil,  1897. 

Shairp,  J.  C,  The  Poetic  Interpretation  of 
Nature,   1898. 


CONTENTS 

Chapter  Page 

I.     The  Technique  of  Form 9 

Point  of  View — Person — Place — 
Time — General  Outline — Center. 

II.     Mood  14 

Contrasting  Moods  —  Obedience 
— Fury — Human  Mood. 

III.  Sense  Appeals  . 72 

Form — Color — Light  and  Shade 
— Touch — Temperature  —  Taste 
— Smell  —  Motion  —  Hearing — 
Summary. 

IV.  Conclusion 214 


STUDY  OF  VIRGIL'S  DESCRIPTIONS  OF 

NATURE 


A  Study  of  Virgil's  Descriptions 

of  Nature 

CHAPTER  I 

The  Technique  of  Form 

Point  of  View 

In  presenting  a  picture  of  Nature,  Vergil  usually 
adopts  one  point  of  view  and  keeps  that  point 
throughout  the  passage.  That  is,  each  picture  is 
given  as  it  would  have  appeared  to  one  person  or 
group  of  persons,  from  one  place,  at  one  time. 
These  descriptions  rarely  embrace  more  than  one 
person,  or  group  of  persons  regarded  as  one,  could 
have  seen  within  the  time-limits  of  the  passage. 

Person. 

Frequently  it  is  not  difficult  to  determine  to 
which  character  the  appeal  is  made,  Aeneid  IV, 
246,  is  Mercury's  glimpse  of  the  earth  as  he  "skims 
along  the  turbid  clouds."  Aeneid  II,  360,  is  the 
description  of  burning  Troy  as  Aeneas  and  his  fol- 
lowers had  seen  it.  Because  one  may  often  know 
to  which  character  these  descriptive  appeals  are 
made,  it  does  not  follow  that  they  are  necessarily 
subjective.  In  the  passage  Aeneid  IV,  246,  men- 
tioned above,  how  Mercury  felt  or  what  he  thought 
of  the  earth  beneath  him,  is  entirely  omitted  from 
the  lines.  The  description  is  purely  objective,  un- 
colored  by  personal  feeling.  In  all  the  poems  of 
Vergil  subjective  descriptions  are  rare  except  in 
those  passages  in  which  the  point  of  view  is  that 

9 


lo     Study  of  VirgiVs  Descriptions  of  Nature 

of  an  animal  or  that  of  inanimate  nature.  These 
passages  are  usually  very  short  and  are  in  general 
the  result  of  a  change  in  the  point  of  view.  So  in 
Georgia  IV,  401,  the  point  of  view  is  that  of  the 
first  person  until  the  line  "umbra  est  gratior 
pecori,"  which  is  the  flock's  subjective  attitude  to- 
ward shade  in  summer.  In  Aeneid  VIII,  86-99, 
the  early  descriptive  lines  deal  with  the  details 
which  the  sailors  would  have  noticed.  But  lines 
91  and  92  introduce  a  personification  of  the  waves 
and  the  woods,  and  then  describe  subjectively  from 
this  personified  Nature's  standpoint  the  "painted 
keels  of  the  ships  and  the  shining  arms  of  the 
sailors." 

There  are  many  descriptions  in  which  the  point 
of  view  is  kept  as  carefully  as  if  it  were  that  of  one 
person,  yet  that  one  person  is  not  definitely  pre- 
sented to  the  mind.  Such  a  passage  is  Aeneid  I,  50- 
55.  In  the  tables  below,  such  a  point  of  view  has 
been  designated  by  the  term  "undefined." 

A  few  descriptions  are  very  general  and  com- 
prehensive. They  are  so  comprehensive  that  no 
one  person  could  have  noted  the  details  given  with- 
in the  time  limits  of  the  passage.  In  Aeneid  VII, 
514,  the  lake  of  Diana,  the  river  Nar,  the  fountain 
of  Velinus,  each  echoed  the  "hellish  voice  of  the 
goddess."  No  one  person  could  have  been  con- 
scious of  this  wide  response  to  the  goddess'  voice. 
Such  a  point  of  view  may  be  designated  by  the  term 
"General." 

There  are  fifteen  instances  of  this  among  the  one 
hundred  fifty-five  descriptions  under  discussion. 
They  are  as  follows 


Eclogue 

II, 

8-14 

Georgia 

I, 

230. 

(( 

I, 

466. 

(t 

II, 

467. 

(C 

IV, 

292. 

Study  of  Virgil's  Descriptions  of  Nature     1 1 


Aeneid 

I,     8i. 

I,     102. 

Ill,     148. 

IV,   160. 

1 

IV,  246. 
V,  693. 

VII,  514. 

VIII,     26. 

[ 

X,   loi. 

Among  the  one  hundred  forty-five  static  descrip- 
tions,— exclusive  of  the  word  sketch — there  are 
eleven  which  change  their  point  of  view.  They  are 
as  follows : 


Eclogue 

VIII, 

14. 

u 

IX, 

48. 

Georgic 

I, 

230. 

u 

II, 

201. 

(( 

III, 

148. 

(( 

III, 

324. 

u 

IV, 

401. 

Aeneid 

III, 

148. 

(( 

V, 

2, 

u 

V, 

124. 

(( 

V, 

505- 

There  are  three  such  changes  among  the  ten 
active  descriptions  :  Aeneid  I,  8 1 ;  Aeneid  IV,  246  ; 
Aeneid  VIII,  86.  From  the  full  number  of  de- 
scriptions, one  hundred  fifty-five,  there  are  fourteen 
which  suffer  this  change  in  the  point  of  view. 

Place 

Just  as  it  was  frequently  possible  to  determine 
to  whom  the  picture  appealed,  so  it  is  not  often  diffi- 
cult to  determine  the  place  from  which  the  scene 
was  described.  Thus  in  Aeneid  III,  532-6,  Aeneas 
must  have  been  standing  on  the  prow  of  his  ship 
facing  the  shore.    In  many  of  the  shorter  incidental 


12     Study  of  Virgil's  Descriptions  of  Nature 

descriptions  this  local  point  of  view  can  not  be 
determined;  as  in  Aeneid  III,  521-2,  the  sunrise 
would,  of  course,  be  generally  visible  to  the  people 
throughout  the  country.  In  the  table  below,  this 
condition  has  been  designated  by  the  expression 
"no  definite  place."  The  active  descriptions,  of 
necessity,  can  not  be  considered  as  offering  data 
for  the  local  point  of  view,  since  their  point  of  view 
must  constantly  change.  But,  of  the  one  hundred 
forty-five  static  descriptions,  there  are  seven  in 
which  the  local  point  of  view  changes.  They  are 
as  follows : 


Georgic 

I,  230. 

(( 

I>  356. 

(( 

II,  207. 

u 

Ill,  324. 

(i 

IV,  271. 

Aeneid 

I,   159. 

u 

Ill,    148. 

Time 

Generally,  exclusive  of  the  active  descriptions, 
the  view  described  might  easily  be  seen  without 
a  great  lapse  of  time.  But  there  are  a  few  de- 
scriptions which  portray  conditions  under  two  dis- 
tinct time-periods.  Aeneid  V,  124-8,  describes  a 
rock  as  it  appears  both  in  fair  weather  and  in 
storm.  This  change  of  the  time-period  is  some- 
times necessary,  as  in  Georgic  I,  230,  in  which  the 
zones  of  the  Heavens  are  described.  Among  the 
static  descriptions  there  are  five  which  suffer  this 
change  in  the  temporal  point  of  view. 

Eclogue      VII,     57. 

Georgic  III,  324. 
Ill,  340. 
Ill,  425- 

Aeneid  V,   124. 


Study  of  Virgil's  Descriptions  of  Nature     13 

Aeneid  IV,  351,  and  Aeneid  VIII,  190,  repre- 
sent repeated  conditions.  In  those  instances  the 
temporal  point  of  view  may  be  termed  "frequenta- 


tive." 


General  Outline 

Vergil  usually  builds  up  his  descriptions  detail 
by  detail  instead  of  giving  the  outline  and  filling 
that  in,  as  painters  work.  In  Georgic  I,  370,  the 
conditions  of  the  approaching  storm  are  described; 
first  by  the  outline,  which  gives  the  place — the  sea- 
coast; — and  the  weather  conditions — thunder  and 
wind.  Then  follow  the  details — the  action  of  birds 
and  ants  during  the  storm.  Most  pictures,  how- 
ever, are  built  as  Georgic  II,  467,  which  begins 
with  mere  details  and  catalogues  them.  It  is  only 
the  formal  static  descriptions  which  present  possi- 
bilities for  this  general  outline.  But  of  these  forty- 
five  formal  descriptions  only  four  present  outlines. 

Georgic        IV,   186. 
IV,   271. 

Aeneid  V,     84. 

VIII,  416. 

Center 

In  his  descriptions  Vergil  does  not  often  fix  the 
attention  upon  one  thing  in  the  picture  and  leave 
all  the  other  details  dimmer  in  the  mind.  That  is, 
his  pictures  are  not  centered  around  one  point  as  is 
a  classic  painting.  There  are,  however,  two  pic- 
tures which  are  centered.  In  the  Aeneid  V,  84,  the 
attention  is  fixed  constantly  upon  the  snake,  and  in 
Aeneid  II,  694,  the  attention  is  centered  upon  the 
star. 


CHAPTER  II 

Mood 

About  half  of  Vergil's  descriptions  are  mood 
sketches.  The  most  common  of  his  moods  is  ten- 
derness. This  is  often  attained  by  taking  the  point 
of  view  of  the  flocks,  or  of  nature  in  general,  as  in 
Georgic  III,  324,  "Ros,  gratissimus  pecori,  est  in 
tenera  herba." 

Contrasting  Moods 

In  the  principle  of  contrast  lies  the  secret  of 
much  of  the  poet's  art.  Light  often  comes  into  the 
picture  after  darkness;  suggestions  of  heat  follow 
descriptions  of  cold.  So  there  are  given  many 
contrasting  mood  sketches.  In  Georgic  II,  467- 
76,  the  peace  and  rustic  tone  follow  the  account  of 
the  "proud  doors  in  the  mansion,"  and  of  the 
"wool  stained  with  Assyrian  poison." 

Obedience 

The  obedience  of  Nature  to  the  divine  will  is 
manifest  in  Aeneid  X,  101-3.  For  at  the  voice  of 
the  god  the  trembling  earth  is  still,  the  sky  is 
hushed,  the  winds  die  down,  and  the  sea  smoothes 
out  its  waves. 

Fury 

Man's  helplessness  in  the  power  of  nature  colors 
the  description  of  the  mad  sea  which  scattered  the 
ships  in  the  darkness.  (Aeneid  III,  192-5).  On 
the  other  hand  the  sense  of  Nature's  protection 

14 


Study  of  Virgil's  Descriptions  of  Nature      15 

Protective  Interest 

often  creeps  into  the  lines  as  in  Aeneid  III,  532, 
where  the  cliffs  are  said  to  stretch  down  their  arms. 
"Scopuli  demittunt  brachia." 

Human  Mood 

At  times  Nature  seems  to  respond  to  human 
mood.  It  seems  covered  with  man's  melancholy 
and  loneliness.  In  Aeneid  XII,  861,  the  little  bird 
sits  on  the  grave  and  sings  late  into  the  night 
through  the  darkness.  Again,  Nature's  calmness 
and  contentment  mock  at  human  misery.  In 
Aeneid  IV,  522,  the  fields  are  still;  the  birds, 
asleep;  but  Dido's  "cares  redoubled  in  the  great 
tide  of  passion."  This  same  lack  of  sympathy  in 
Nature  is  seen  again  in  Aeneid  IV,  584,  where  the 
morning  dawns  bright  only  for  Dido  to  see, 
through  her  window,  Aeneas  sail  from  the  shore. 

No  attempt  is  made  in  this  discussion  to  classify 
completely  the  mood  sketches,  because  the  re- 
sponse to  mood  as  a  literary  quality  depends  too 
much  upon  the  personality  and  experience  of  the 
reader.  The  general  suggestions  given  above  will 
serve  to  illustrate  the  fineness  of  Vergil's  art.  This 
impression  would  not  be  materially  aided  by  an 
arbitrary  summarizing  of  the  mood  in  his  sketches. 


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20     Study  of  Virgil's  Descriptions  of  Nature 


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24     Study  of  Virgil's  Descriptions  of  Nature 


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30     Study  of  Virgil's  Descriptions  of  Nature 


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32     Study  of  Virgil's  Descriptions  of  Nature 


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34     Study  of  VirgiVs  Descriptions  of  Nature 


o 
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rock,  the  home 
of  the 
Nymphs.) 

No. 

Quiet,  wonder, 
awe. 

Out- 
line 

d                                        6 

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ter 

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Aeneas'  house. 

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C 

o 

« 

Ui 

Aeneas. 

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images,  then 
Aeneas'. 

•4-> 

.Id 

the  waters  are  quiet.  A 
dark    grove    overhangs 
from  above.    Far  with- 
in is  a  cave  with  sweet 
waters  and  seats  of  liv- 
ing rock,  the  home  of 
the  Nymphs. 

There    was    thunder. 
Then     a     star     glided 
through      the     shades, 
over  the  roofs,  and  hid 
itself     in     the     woods, 
marking  the  way.     The 
long  trail  gave  its  light. 
Round  about,  the  places 
smoked  with  sulphur. 

It   was   night.     Deep 
sleep  possessed  the  liv- 
ing   creatures    of    the 
earth.     The   images  of 
the  gods  which   I   had 

<c|i          <~is 

Study  of  Virgil's  Descriptions  of  Nature     35 


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smeltings    of    Chalybes 
hiss  in  the  forges. 



A. 
VIII. 
416- 

422 

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66     Study  of  Firgil's  Descriptions  of  Nature 


-a 
o 
o 

No. 

The  sorrow  ex- 
pressed  by   the 
"cold  darkness" 
answers  the 
mood  of  sor- 
row which  the 
mourners   felt. 

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fleeing  Priver- 
nus  expressed 
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3 

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Until  night  turns  around  the 
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tering stars. 

The  day  scattered  the  cold 
darkness   from  the  sky  while 
sorrowing   they   gathered   the 
bones  in  the  fire. 

The  shower  tore  the  clouds, 
and  Amasenus,  foaming,  rolled 
over  its  banks. 

Until  rosy  Phoebus  dips  his 
wearied  horses  in  the  sea  and 
brings  back    the    night    when 
the  day  has  closed — 

01                                                                          IT)                                                 0\ 

Study  of  Virgil's  Descriptions  of  Nature     67 


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I 


CHAPTER  in 


SENSE  APPEALS 


The  vividness  of  a  description  depends  largely 
upon  the  number  of  concrete  sense-appeals  which 
it  may  make.  Literature,  of  course,  can  make  these 
appeals  only  indirectly.  But  literature  is  the  only 
art  which  may  suggest  an  appeal  to  every  sense — to 
sight,  in  form,  color,  light  and  shade;  to  touch; 
to  temperature;  to  taste;  to  smell;  to  motion;  and 
to  hearing. 

Form 

To  each  of  these  senses  Vergil  has  made  appeals 
in  his  various  pictures  of  nature.  It  is  sight  in 
its  three-fold  division,  that  he  has  suggested  most 
often.  Very  little,  however,  is  made  of  form. 
There  are  thirty-eight  appeals  to  it;  twenty-six  of 
these  refer  to  curved  surfaces;  eleven,  to  hollowed 
bodies,  and  in  Aeneid  VI,  416,  the  slime  is  said  to 
be  "formless,"  "informi  limo."  The  complete  list 
of  appeals  to  form  are  as  follows : 

FORM. 


Eclogue 
I. 

cava  ilice 
hollow  oak.    i. 

Eclogue 

cava  ilice 
hollow  oak.  15. 

Georgic 
I. 

curvis  carinis 
curved  ships.     360. 

Georgic 
II. 

curva  flumina 
winding  rivers.     11. 

cava  convalle  montis 

hollow  vale  of  the  mountain.    186. 

72 

Study  of  Virgil's  Descriptions  of  Nature     73 


Georgic 
II. 


Georgic 
III. 

Georgic 
IV. 


Aeneid 
I. 


Aeneid 
II. 

Aeneid 
III. 


curvis  aratris 
curved  plough.    189. 

curvas  latebras 
winding  retreats.     216. 

unci  vomeris 
crooked  plough.    223. 

camuris  cornibus 
curved  horns.    55. 

curva  flumina 
winding  rivers.     278. 

flumina  curvata  in  faciem  montis 

rivers  arched  into  the  form  of  a  mountain.  361. 

cava  flumina 

hollow  streams.     427. 

convexo  nemorum 

in  the  curve  of  the  woods.    310. 

cavata  rupe 

a  hollowed  rock.    310. 

convexa  montibus 

hollows  on  the  mountains.    608. 

curvo  valle 
curved  vale.    748. 

curva  valle 

curved  shore.    223  and  16. 

cavata  rupe 
hollowed  rock.    229. 

cavo  saxo 
hollow  rock.    450 

curva  litora 
curved  shores.    238. 

portus  curvatus  in  arcum 
port  curved  into  a  bow.    533. 

curvato  gurgite 
curving  wave.     564. 

cavo  antro 


74     Study  of  Virgil's  Descriptions  of  Nature 


Aeneid 
III. 


Aeneid 
V. 


Aeneid 
VI. 


[hollow  cave.    641. 

curva  litora 
curved  shores.    643. 

curvis  cavernis 
circled  caverns.    674. 

curvis  collibus 
rounded  hills.    287. 

circus  theatri 

circle  of  the  theatre.    288. 

cava  pinus 
hollow  pine.     449. 

cava  saxa 

hollow  rock.     677. 

convexa  supera 

the  arch  of  the  heavens.    241. 


Aeneid 
VIII. 

cavi  colles 
hollow  hills.    598. 

Aeneid 
X. 

curva  litora 

curved  shores.     683. 

Aeneid 
XL 

curvo  litore 
curved  shore.     184. 

convexo  tramite 
winding  path.     515. 

curvo  anfractu 
crooked  windings.     522. 

f 

Aeneid 
XII. 

cava  terra 

hollow  earth.     893. 

WITHOUT  FORM 

Aeneid         |informi  limo 
VI.  [formless  slime.    416. 


I 


Color 


Vergil's  descriptions  of  Nature  are  much  richer 
in  color  words  than  in  form  appeals.     There  are 


Study  of  Virgil's  Descriptions  of  Nature     75 

three  hundred  eighteen  instances  of  natural  objects 
described  by  color  terms.  Of  these,  ten  refer  to 
the  indefinite  property  of  color  as  in  Aeneid  V, 
609,  the  rainbow  is  called  "the  bow  of  a  thousand 
colors."  Twice  the  expression  "pictae  volucres" 
is  used  with  the  meaning  of  "various  colored." 
Of  the  remaining  three  hundred  and  two  concrete 
examples  of  color  the  word  "caeruleus"  has  offered 
the  most  difficulty  in  classification.  Probably  to 
Vergil  it  meant  the  color  of  the  sea,  which  might 
be  either  green  or  blue.  In  all  its  applications  to 
nature  descriptions — which  alone  concern  us  here 
— the  word  may  be  understood  to  mean  "blue"  in 
all  cases  with  the  possible  exception  of  Aeneid  III, 
432,  wherein  the  "caeruliis  canibus"  may  be  trans- 
lated, as  most  commentators  agree,  "  the  sea-green 
dogs."  Of  the  three  hundred  two  color  attributes 
sixty-eight  are  those  of  white ;  sixty-seven,  dark  or 
black;  fifty-eight,  yellow;  forty-five,  green;  thirty- 
three,  red;  sixteen,  blue;  fifteen,  purple;  one,  either 
blue  or  green;  "pura"  applied  to  honey,  in  the 
sense  of  clear;  and  "ferrugineos,"  used  to  describe  a 
hyacinth.  This  word  in  Georgic  IV,  282,  undoubt- 
edly means  a  dark  color,  probably  blue.  All  idea 
of  rust-color,  as  most  commentators  believe,  has 
been  lost  from  the  word  in  this  usage. 

Whiteness  is  described  by  words  from  eleven 
different  roots,  with  about  nineteen  variations  of 
those  root  words.  In  the  order  of  their  frequency 
the  root  ideas  are  as  follows: 


albus 

25 

canus 

19 

niveus 

12 

pallidus 

4 

purus 

2 

argenteus 

2 

liquidus 

I 

lucidus 

I 

76     Study  of  Virgil's  Descriptions  of  Nature 


vaccus              I 

lactans              i 

ebur                  I 
The  idea  of  blackness  is  developed  through  eight 
ot  ideas. 

niger 

ater 

31 
26 

opacus 

puUis 

piceus 

fuscis 

umbrosus 

4 
I 

I 

I 

I 

caecus               i 
Vergil's  vocabulary  of  red  has  seven  root  words, 
ruber              18 

sanguineus 

puniceus 

roseus 

5 
4 
2 

cruentus           2 
rutilus              I 
sandyx              i 
In  yellow  there  are  five  color  roots. 

aureus 
fulvus 

26                  * 
14 

flavus 

9 

croceus 
luteus 

7 

2 

The  color-roots  for  green  are  three, 
viridus  39 

glaucus  4 

pallens  2 

Fallens,  in  itself,  indicates  no  color  and  signifies 
merely  paleness.  But  Vergil  uses  it  in  Eclogue  V, 
16,  to  denote  the  pale  olive  color,  and  in  Eclogue 
VI,  54,  to  suggest  the  grass  that  is  a  light  green 
against  the  darkness  of  the  holm  oak. 

Of  the  fifteen  references  to  purple  there  are  the 
following : 


Study  of  Virgil's  Descriptions  of  Nature     77 

Purpureus     1 1 

murix  i 

ostro  I 

nigrae  violae  i 

nigra  vaccina  i 
From  the  table  of  appeals  to  the  sense  of  color 
we  may  infer  that  Vergil  was  not  definitely  con- 
scious of  the  violet  which  we  find  in  our  spectrum. 
The  few  references  to  purple,  however,  suggest 
that  the  recognition  of  violet  as  an  established  color 
was  soon  to  come.  Even  to-day,  when  man's  sense 
of  color  is  highly  developed,  many  persons  make  no 
sharp  distinction  between  purple  and  violet. 

To  summarize  the  appeals  to  the  sense  of  color 
the  following  scale  is  appended. 


78     Study  of  Virgil's  Descriptions  of  Nature 


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Study  of  Virgil's  Descriptions  of  Nature     97 


u 

c 

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varios 

colores 

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colors. 

89. 

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mille 

colori- 

bus 

arcum 

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of  a 

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pureas 
flores 
Purple 
flow- 
ers. 79. 

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leae  notae 
(Snake's)  back 
marked  with 
blue.     85. 

Caerulea 
Scylla 

Blue  Scylla. 
122. 

C 

0 

Virides 
coronae  Green 
coronets,    no. 

Viridem  metam 
frondenti  ilice 
The  goal,  green 
with  leafing 
oak.     129. 

Viridi  lauro 
Green  laurel. 
246. 

1! 

(Anguis)  auro 
maculosus 
Snake,  specked 
with  gold. 
87. 

Flava  oliva 
Yellow  olive. 
309- 

Aureis  ungui- 
bus    Golden 
claws  (of 
lion).    352. 

•0 

Dark 

luvencos 
nigrantis  terga 
Bullocks  with 
Hack  backs. 
97- 

Atra  nubila 
Black  clouds. 

512. 

Nigra  nube 
Black  clouds. 

516. 

Light. 

Can- 

dentem 

taurum 

White 

bull. 

236. 

Equus 
albis 
maculis 
A  white- 
spotted 
horse. 
566. 

Scopu- 

los  os- 

sibus 

albos 

Rocks 

white 

with 

<i> 

i 

98     Study  of  Virgil's  Descriptions  of  Nature 


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Study  of  Virgirs  Descriptions  of  Nature   109 


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& 

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C 
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1 



4-< 

bo 

drawn 

by. 

white 

horses. 

164. 

Nivali 

vertice 

Snowy 

summit 

(of    , 

Apeni- 

nus). 

702. 

.  1—5 

1 10  Study  of  Virgil's  Descriptions  of  Nature 
Light  and  Shade 

To  light  and  shade  there  are  two  hundred 
sixty-six  appeals.  Of  these,  eighty-five  are  descrip- 
tions of  darkness;  sixty,  of  the  heavenly  bodies  in- 
cluding ten  personifications  of  Aurora  and  two  of 
the  day;  forty-two  are  descriptions  of  shadows; 
thirty-eight,  of  reflections;  twenty-three,  of  fires; 
nine,  of  clouds;  seven,  of  lightnings;  one,  of  the 
sky;  and  one,  of  the  rainbow. 

Vergil's  treatment  of  light  and  shade  is  much 
more  skilful  than  his  treatment  of  either  form  or 
color.  Few  descriptions  have  been  more  admired 
than  Aeneid  VIII,  22. 

"Aquae  tremulum  labris  ubi  lumen  aenis. 

Sole  repercussum  aut  radiantis  imagine  lunae. 

Omnia  pervolitat." 

"The  light  of  the  sun  or  the  moon  strikes  the 
brazen  vessel,  trembles  against  the  water  and  flick- 
ers over  all  things  round  about  it." 

The  light  and  shade  appeals  used  in  the  de- 
scription of  nature  are  as  follows: 


Study  of  Virgil's  Descriptions  of  Nature   1 1 1 


w 

Q 
< 
X 
tn 

Q 

< 

H 

O 


C! 

•5 

.s 

<u 

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CO 

< 

Sky  and  Light 
ning 

Heavenly  bod- 
ies and  Person- 
ifications 

tn 

o 
U 

W 

c 
o 

tn 

'S 

en 

< 

tn 

tn 

a> 

c 

u 

Q 

o 
-a 
a 

Xi 

Maioresque 
cadunt  altis  de 
montibus 
umbrae 
The  shadows 
lengthen  from 
the  towering 
hills  84. 

Fagos  umbro- 
sa  cacumina 
The  shady 
tops  (of  the 
beeches)   3. 

Pecudes 
captant. 
utnbras 
The  flocks 
enjoy  the 
shade  8. 

c 

o 

(U 

Pi 

Fire 

W^                         .    f^d 

112  Study  of  Virgil's  Descriptions  of  Nature 


As  Manifest  in  the  Heavens. 

Sky  and  Light- 
ning 

Heavenly  Bod- 
ies and  Person- 
ifications 

Fcj/»^r  Olympo 
invito  proces- 
sit.    The  even- 
ing star  comes 
forth  from  the 
reluctant    sky. 
86. 

in 

3 
O 

0 

o 

■*-» 

w 

'S 

CO 

< 

tn 

c 

ei 
Q 

o 
-a 

CO 

Sol  crescentes 
decedens  dup- 
licat  umbras. 
The  sinking 
sun  doubles 
the  lengthen- 
ing shadows 
67 

Incertas 
umbras 
Quivering 
shadows  5. 

c 

&^                             ^>             &^ 

Study  of  Virgil's  Descriptions  of  Nature   113 


g 
> 

(-• 
-4-) 

_c 

-M 

tn 

4> 

'c 

tn 

< 

Sky  and  Light- 
ning 

■ 

Heavenly  Bod- 
ies and  Person- 
ifications 

U5 

3 
0 

u 

As  Manifest  on  E^rth. 

en 
eo 

<U 
S 

u 
a 

Q 

Umbra 
noctis 

Darkness  of 
the  night.   14. 

0 

Rara  umbra 
Thin  shade 
(of  arbute) 
46. 

Pampineas 
umbras 
Shadows  of 
the  vines  58. 

Induceret 
fontes 
umbra 
Overspread 
the    fountains 
with  shade.  20. 

c 
0 

p^ 

Apricis 
collibus 
Sunny  hills  49. 

.1: 

Ec. 
VII. 

Ec. 
VIII. 

Ec. 
IX. 

114  Study  of  Virgil's  Descriptions  of  Nature 


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Study  of  Virgil's  Descriptions  of  Nature    115 


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Densa  inter 
nubila  sese 
rumpeant  radii 
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the  sun)  break 
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thick  clouds. 
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Aurora  pallida 
surget. 

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pale.     447- 

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454. 

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1 1 8  Study  of  VirgiVs  Descriptions  of  Nature 


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Heavenly  Bod- 
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(Sol)    caput 
nitidum  texit. 
The    sun   cov- 
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ing head.  467. 

Cometae  arsere 
Comets  burned 
488. 

Cum  caput 
extulerunt 
sidera  caelo. 
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stars     raised 
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The  leaves 
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of    its   mother 
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matris  se 

c 
o 

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aere 

Glittering 
brass.   282. 

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enituit 
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Fire- 
breath- 
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140. 

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involv- 
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perat.    At  the 
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sun,   when  the 
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Rainless  clouds. 
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umbra 

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The   shadow 
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lumina 
Flaming  eyes 
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433- 

4) 
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II. 

Geo. 
III. 

Study  of  Virgil's  Descriptions  of  Nature   121 


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nemus. 
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haud  umquam 
discutit  um- 
bras. 
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rarely  scatters 
the  dim  shad- 
ows.    357. 

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Soothing 
shade.    464. 

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altorum 

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bus   umbrae 
lustrabunt 
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shadows    cross 
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cava  circum- 
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360. 

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noctem  Dark 
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136  Study  of  Virgil's  Descriptions  of  Nature 


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to 

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Sky  and  Light- 
ning 

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ifications 

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solis   Beams 
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Night  had 
touched  the 
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course.     835. 

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aera  Darkened 
air.    839. 

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palus    Dark 
marsh.     107. 

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per  ramos. 
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gleams 
through  the 
branches.     204. 

Torren- 

tibus 

flammis 

Eager 

flames. 

550. 

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Study  of  Vhgirs  Descriptions  of  Nature   137 


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138   Study  of  Viryil's  Descriptions  of  Nature 


Study  of  Virgil's  Descriptions  of  Nature    139 


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bus  atrum 
latus  nemoris. 
The  side  of 
the  wood,  dark 
with  dense 
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ness.   619. 

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the  earth  with 
her  lamps.  148. 

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Shining  horses. 
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148  Study  of  Virgil's  Descriptions  of  Nature 


As  Manifest  in  the  Heavens. 

Sky  and  Light- 
ning 

Heavenly  Bod- 
ies and  Person- 
ifications 

star's  heat). 
The  burning 
dog  star  rises, 
and  saddens 
the  sky  with 
its  light.    275. 

Ruebat  matura 
luce    dies 
noctemque 
fugarat.    Day, 
with  her  time- 
ly  light  arose, 
and  put  the 
night  to  flight. 
257- 

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rora   Rising 
Aurora,     i. 

Aurora  extul- 

CO 

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Shadow             Darkness 

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tenebras 
caligine 
caelum.    The 
sky  is  hidden 

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Shady  wood. 
905- 

§ 

.4-* 

<u 

Lucet  via 
longo  ordine 
flammarum. 
The  path 
shines  with 

Atris 

ignibus 

Dark 

flames. 

186. 

<><                                                          <>< 

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150  Study  of  VirgiVs  Descriptions  of  Nature 


C 

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latus    (vallis) 
The  side   (of 
the  gorge) 
was  dark  with 
heavy  foliage. 
523-24. 

Caelum  obtex- 
itur  umbra. 
The  sky  is 
hidden  by 
the  darkness. 
611. 

Tenebris 
nigrescunt 
omnia.    Every- 
thing blackens 
in  the  dark- 
ness.    8?./\ 

1 

in 

0 
tJ 

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pes 

Study  of  Virgil's  Descriptions  of  Nature   1 5  i 


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Dies    summos 
spargebat 
lumine  montis 
Day  sprinkled 
the  mountain 
tops  with 
light.   113. 

Ardentes 
orbes   Shin- 
ing eyes.     670 

Immissi 

diversis 

partibus 

ignes  in 

silvam 

Fires, 

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<u 
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there  in 
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152  Study  of  Virgil's  Descriptions  of  Nature 


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Study  of  VirgiVs  Descriptions  of  Nature   153 


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154  ^tudy  of  Virgirs  Descriptions  of  Nature 

To  the  sense  of  sight,  including  form,  color, 
and  light  and  shade,  there  are  six  hundred  fifteen 
appeals — more  appeals  than  are  made  to  any  other 
sense.  But  this  is  not  surprising  in  view  of  the  fact 
that  more  experience  comes  through  sight  than 
comes  through  any  other  sense. 

Touch 

Tothe  sense  of  touch  Vergil,  in  his  nature  de- 
scriptions, makes  ninety-eight  appeals.  The  ideas 
of  resistance  seem  strongest  in  his  mind  as  there 
are  thirty-nine  suggestions  of  it, — sixteen  of  hard- 
ness and  twenty-three  of  softness.  Next  to  resist- 
ance in  frequency  come  the  references  to  surface, 
thirty-four  in  all,  thirty-one  suggesting  roughness 
and  three  suggesting  smoothness.  Twenty  refer- 
ences to  humidity  are  found,  only  two  of  which 
refer  to  dryness.  Five  times  a  reference  is  made  to 
edge,  but  each  time  to  a  sharp  edge.  Roughness, 
moisture,  softness,  have  made  the  strongest  appeals 
to  Vergil's  touch-sense.  To  suggest  roughness  he 
uses  eleven  different  words. 

asper,  lo. 

horridus,  7. 

horrens,  4. 

saetiger,  3. 

saetosus,   i. 

hirsutus,   i. 

tophus,  I. 

squalens,  i. 

squameus,  i. 

scrupeus,  i. 

hirtus,  I. 
For  the  eighteen  moisture  appeals  seven  words 
are  used. 

humidus,  10. 
roscidus,  3. 
limosus,  I. 


Study  of  Virgil's  Descriptions  of  Nature    155 

lentus,   I. 

udus,  I. 

madeo,  i. 

lentesco,  i. 
Softness  is  suggested  in  four  ways. 

mollis,  18. 

tener,   3. 

mansuesco,  i. 

lentus,  I. 
Hardness,  to  which  there  are  sixteen  references, 
is  expressed  by  four  words. 

durus,  13. 

concresco,   i. 

lapidosus,  i. 

induro,   i. 
The  following  is  the  summary  of  the  appeals  to 
touch. 


156  Study  of  Virgil's  Descriptions  of  Nature 


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Study  of  Virgil's  Descriptions  of  Nature   157 


bo 

0, 
C/5 

A  cutis 

spinis 

Sharp 

prickles 

39- 

4-> 

c 

u 

3 

be 
S 
0 

Saetosi  apri 
Bristly  boar. 
29. 

Horridior  rus- 
co   Rougher 
than  furze.  42. 

Hirsutae  cas- 
taneae    Rough 
chestnuts.    53. 

J3 

s 

(/3 

1 

■t-> 

0 

c 

_tn 
'35 

4.4 

Mollibus  foliis 
Soft  leaves.  31. 

Molli  hyacin- 
tho  Soft  hya- 
cinth.     53. 

Teneras  myr- 
tos    Soft  myr- 
tle.    6. 

Tenera  arun- 
dine  Soft  reed. 
12. 

Herba  mollior 
Grass,    softer 
(than  sleep). 
45- 

u 

W>             W>             W>I 

158  Study  of  Virgil's  Descriptions  of  Nature 


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Study  of  Virgil's  Descriptions  of  Nature   159 


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Study  of  Virgil's  Descriptions  of  Nature   i6i 


w 

u 

x; 
in 

Acuta 
scopulo 
Sharp 
rock. 

45-    144 

c 

o 

x; 

3 
O 

Asp  era   silva 
Rough  wood. 
384. 

Horridus  sus 
Bristly  boar. 
407. 

Horrentia  ter- 
ga Rough 
backs    (of    the 
bulls).     634. 

Squamea  terga 
Scaly  backs. 
218. 

Asperis  senti- 
bus   Rough 
thorns.     379. 

4-» 

o 

i 

3 

u 

Q 

^ 
^ 

Lentum  gluten 
Clammy  glue 
from  (bark  of 
narcissus). 
160. 

Humida   nox 
Moist  night.  8. 

o 

c 

+-» 
tn 

'in 

Ml 
O 

CO 

Mollis  acanthi 
Soft  acanthus. 
137- 

Mollis  amara- 
cus   Soft  mar- 
joram.    693. 

Duris 

cotibus 

Hard 

cliffs. 

203. 

JS     J^          ^"^          <a 

1 62  Study  of  Virgil's  Descriptions  of  Nature 


bo 

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Study  of  Firgil's  Descriptions  of  Nature    163 


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164  Study  of  Virgil's  Descriptions  of  Nature 


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Study  of  Virgil^ s  Descriptions  of  Nature   165 


•0 
W 

a. 
m 

4-> 

c 

3 

5 

-a 

0 
Pi 

(of  the  hill.) 

Aspera  nem- 
ora,  Rough 
woods.     902. 

Saetigeri  suis, 
Bristling 
swine.    170. 

0 
0 

e 

CO 

'•5 

Q 

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Umida   stagna, 
Moist  pools. 
476. 

c 

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<u 

CO 

rt 

robore, 
Hard 
oak. 
893- 

<^                   <g 

1 66  Study  of  Virgil's  Descriptions  of  Nature 

Temperature 

In  temperature  cold  has  received  more  attention 
from  Vergil  than  heat  has  received.  There  are  but 
twenty-nine  references  to  heat  in  these  pictures  of 
nature,  while  there  are  fifty-six  references  to  cold. 
Of  these  fifty-six  references  to  cold,  twenty-seven  are 
expressed  by  the  root  idea  in  frigidus;  eighteen  are 
expressed  by  gelidus,  six  by  hibernus;  and  one  by 
each  of  the  following, — tempero,  nivalis,  hiemps 
dura,  and  glacialis.  Virgil  has  used  seven  words 
for  his  fifty-six  references  to  cold.  The  poet's  vo- 
cabulary for  heat  was  much  larger,  comprising,  as 
it  does,  twelve  words. 

tepidus 

apricis 

torreo 

aestu 

torridus 

sol 

arens 

igneus 

calor 

coqueo 

ardor 

recaleo. 
The  references  to  heat  and  cold  are  as  follows: 


Study  of  Virgil's  Descriptions  of  Nature    167 
TEMPERATURE 


Heat 

Cold 

Ec. 
I 

Opacum  frigus,  Shady 
cold  (literally)  cool 
shade.     52. 

Ec. 
II 

Rapido  aestu,  Swift- 
descending  heat.     10. 
Ardenti  sole.  Burning 
sun.     13. 

Pecudes  captant  frigora 
et  umbras,  Herds  enjoy 
the  cool  and  shade.    8. 

Ec. 
III. 

Frigidus  anguis,  Cold 
snake.    93. 

Ec. 
V. 

Frigida  flumina,  Cool 
streams.  25. 

Ec. 
VII. 

Torrida  acstas,  Burn- 
ing summer.     47. 
Ager  aret.    The  field 
is  parched.    57. 

Frigora  Boreae  curamus. 
We  regard  the  cold  of 
Boreas.    51. 

Ec. 
VIII. 

Frigida  umbra.  Cool 
shadow.     14. 

Frigidus  anguis.  Cold 
snaice.    71. 

Ec. 
X. 

Gelidi  Lycaei  saxa 
Rocks  of   cool   Lycaeus. 

15- 

Menalcus  uvidus  de  hi- 
bcrna  glande  venit.  Men- 
alcus came,  wet  from  the 
winter  acorn-gathering. 
20. 

Gelidi  fontes.  Cold  foun- 
tains.   42. 

Georgic 
I. 

Solent    sensit    seges. 
The    corn    field    felt 
the  sun.     48. 

Arva      arentia.        It 
cools      the      parched 
fields. 

Gelidus  humor.  Cool 
moisture.    43. 

Seges  frigora  sensit.  The 
corn  field  felt  the  cold. 
48. 

1 68  Study  of  Virgil's  Descriptions  of  Nature 


Georgic 
I. 


Georgic 
II. 


Heat 


Georgic 
III. 


tepido  humore.  Warm 
moisture.     117. 

Una  zona  torrida  ab 
igni.  One  zone  burn- 
ing from  the  fire 
234- 

Tepidum         solem. 
Warm  sun.     398. 

Igneus  Eurus.  Fiery 
East  wind.    450. 

Quaeque  (arbor)  cal- 
ores  tulerit.  Each 
tree  has  born  the 
heat.     270. 

Aestifer  Canis.  Heat- 
bearing  Dog  -  star. 
353- 

Aravis  aestas.  Op- 
pressive heat.    2)77- 


Torrentem       undam 
Boiling  wave.     451. 

Apricis  saxis.    Sunny 
rocks.    522. 


Aestibus     mediis. 
Noonday  heat.    331. 


Cold 


Ilia  (unda)  temperat  ar- 
va.  The  water  cools  the 
fields,     no. 


Frigidiis      imber. 
shower.    259. 


Cool 


Gclida  nocte.  Cool  night. 
287. 

Frigida  Stella.  Cold  star. 
336. 


Frigora  taxi  (amant) 
Yew-trees  love  the  cold. 
113. 

Gelidus  ros.  Cool  dew. 
202. 


Gclidae     pruinae. 
frosts.    263. 


Cold 


Hibernis  flatibus.  Wintry 
blasts.    339. 

Frigora  nocuere  (ar- 
bores)  colds  injure  the 
trees.     376. 

Frigidus  Aquilo  cold 
north  wind.    404. 

Frigida  Tempe.  Cool 
vale.    469. 

Gelidis  vallibus.  Cold 
valleys.    488. 

Pluvia  frigora  (Rainy 
cold-literally)  cold  rains. 
279. 

Frigida  glacies.  Cold  ice 
298. 


Study  of  Virgil's  Descriptions  of  Nature   169 


Cold 


Geo. 
III. 


Georgic 
IV. 


Aeneid 
III. 

Aeneid 
IV. 

Aeneid 
V. 


Frigidus  Aquarius.    Cold 
Aquarius.     303. 


Nivales     ventos. 
winds.    318. 


Cold 


Ripa  invitet  decedere 
calori.  Bank  invites 
them  to  withdraw 
from  the  heat.    23. 

Tepefactus  humor. 
Warm  moisture.  308. 

Sol  acccnderit  aestus. 
The  sun  has  kindled 
his  heat.    401. 


Frigida  rura.  Cold  fields. 
324- 

Frigidusvesper  aera  tem- 
perat.  Cold  evening  cools 
the  air.    336. 

Spirantes  frigora  Cauri. 
West  winds  breathing 
the  cold.    356. 

Apes  tecta  frigida  relin- 
quint.  Bees  leave  their 
cold  hives.     104. 

Hiems  saxa  frigore  rum- 
peret.  Winter  bursts  the 
rocks  with  the  cold.    130. 

Duram  hiemem.  Pinch- 
ing winter,    239. 


Torrens 
Burning 
425- 


Sirius. 
dog-star. 


Radii  flumina  tepe- 
facta  coquebant. 
Rays  of  the  sun 
burned  the  rivers, 
warmed  in  their 
channels.     428. 


Tepido  lacte. 
milk.     66. 


Warm 


Gelidis       antris. 
caves.     509. 


Cold 


Frigida  lingua  (Or- 
pheus) cold  tongue  (of 
Orpheus.)      525. 


Glacialis      hiems.         Icy 
winter.    285. 

Hiberno  sidere.     Wintry 
season.    309. 

Hiberni    Cori.      Wintry 
west  winds.     126. 


lyo  Study  of  Virgil's  Descriptions  of  Nature 


Heat 


Cold 


Aeneid 
VI. 


Aeneid 
VII. 


Aeneid 
VIII. 


Aeneid 
X. 


Apricis  terris.  Sunny 
lands.    312. 

Serena  aestate.  In 
the  clear  summer. 
707. 


Gelidas      Arctos.       Cold 
north.     16. 


Brumali  frigorc.  Wintry- 
cold.     205. 

Prigore  autumni.  Cold  of 
autumn.     309. 


Aristae        torrentur 
novo  sole.      Corn    is 
parched  by  the  early 
sun.    720. 


Humus  tepebat  caede 
The  ground  was 
warm  with  blood. 
196. 


Frigidus      annus, 
season.     311. 


Cold 


Sirius  ardor.  The 
heat  of  the  Dog-star. 
273- 


Hibcrnas  noctes.  Wintry 
nights.     355. 

Gelidum  Anienem.  Cold 
Anio.     683. 

Frigida  Nursia.  Cold 
Nursia.     715. 

Hibernis  undis.  Cold 
waves.     719. 

Gclidi  aetheris.  Cold 
sky.     28. 

Cyllenae  gelido  vertice. 
Cold  summit  of  Cyllena. 
139- 

Gclidos  fines  Arcadiae 
cold  boundaries  of  Arca- 
dia.    159. 


Gclida  rupe. 
343- 


Cold  rock. 


Gelidmn    amnem. 
stream.     597. 


Gelido 
stream. 


flumine. 
610. 


Cold 


Cold 


Study  of  VirgiVs  Descriptions  of  Nature    171 


Heat 

Cold 

Aeneid 

Tepido 

aggere  terrae. 

Gelidam  umbram. 

Cool 

XL 

Warm 
earth. 

mound 
212. 

of 

shade. 

210. 

Aeneid 

Fluenta  recalcnt 

san- 

GcUdi 

FTebri.     Cold 

He- 

XII. 

guine 

Rivers 

are  brus. 

331. 

warm  with  blood 

,1S- 

Gclidis 

nubibus. 

Cold 

clouds 

796. 

Taste 


In  the  descriptions  under  study  there  are  forty- 
eight  appeals  to  taste.  Fourteen  of  these  are  to 
bitterness;  four  to  mellowness;  thirteen  to  sweet- 
ness; six  to  sourness;  live  to  saltiness;  and  six  to  the 
general,  abstract  idea  of  taste  and  thirst.  Because 
the  appeals  to  the  sense  of  taste  are  few,  it  does 
not  follow  that  Vergil's  sense  of  taste  was  de- 
ficient. The  scarcity  of  appeals  to  taste  is  probably 
due  to  the  fact  that  little  experience  comes  througa 
that  sense  in  comparison  with  the  experience  wnich 
comes  through  the  senses  of  sight,  of  hearing,  or 
of  motion. 

The  appeals  to  the  sense  of  taste  are  outlined  as 
follows : 


172  Study  of  VirgiVs  Descriptions  of  Nature 


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Study  of  Virgil's  Descriptions  of  Nature   173 


1      81 

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Study  of  Virgil's  Descriptions  of  Nature   175 


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176  Study  of  Virgil's  Descriptions  of  Nature 

Smell 

To  the  sense  of  smell  there  are  but  twenty-eight 
appeals.  Twenty-five  of  these  were  evidently 
pleasing  to  Vergil,  and  three  of  them  distinctly 
disagreeable.  Few  of  these  appeals  are  concrete. 
Usually  the  words  "odoratus"  or  "olentes"  are 
used  with  the  general  idea  of  scented,  and  only 
from  the  context  can  we  get  a  concrete  experience. 
Occasionally  the  adverbs  "male,"  "bene,"  "grave," 
are  used  limiting  the  idea  of  "odoratus,"  and  they 
assist  the  reader  in  forming  the  percept.  The 
meagerness  of  Vergil's  vocabulary  for  smell  is  not 
surprising.  Man  has  not  yet  so  fully  developed  a 
sense  of  smell  that  he  may  analyze  and  group  ap- 
peals made  to  it. 

The  following  are  the  references  to  smell: 


Study  of  Virgil's  Descriptions  of  Nature   177 
SMELL 


Pleasant 

Distinctly 
Unpleasant 

Ec. 
II. 

Olentes  herbas.    Scented  herbs 
(probably  sweet-scented).  11. 

Bene    olentis   anethi.     Sweet- 
scented  anise.    48. 

Suave s  odores.   Sweet  smell  of 
the  myrtle  and  laurel.    55. 

Geo. 
I. 

Croceos  odores.  Saffron  odors. 

56. 

Olentes        ramos         Fragrant 

branches  of  the  almond.  188. 

Virosa  castorea 
Strong  smelling 
castor.     58 

Geo. 
IL 

Odorato  ligno.   Fragrant  wood 
of  the  balsam.     118. 

Si  non  iactaret  alium  or  dor  em, 
fuerat  laurus.     If  it  had  not 
breathed  out  another  scent,  one 
would  think   it  was  a  laurel. 
130. 

Thuriferis    harenis.      Incense- 
bearing  sands.    139. 

Geo. 
III. 

Odoratam    cedrum.      Scented 
cedar.    414. 

Galbanco    nidore.      Scent    of 
resinous  gum.    415. 

Geo. 
IV. 

Serpylla  late  olentia.    Thyme, 
scenting  the  air  far  around.  30. 

Thymbrae    spirantis    graviter. 
Heavily  scented  savory.    31. 

Horti  halantcs  croceis  floribus. 
Gardens,  scented  with  saffron 
flowers.     109. 

Fragrantia  mella  redolent  thy- 
mo.    Fragrant  honey  is  redol- 
ent with  thyme.    169. 

lyS  Study  of  Virgil's  Descriptions  of  Nature 


Pleasant 

Distinctly 
Unpleasant 

Geo. 
IV. 

Galbaneos    odores.      Resinous 
smell.    264. 

Grave        olentia        centaurea. 
Heavy  scented  centaury.   270. 

Odorato      Baccho.      Fragrant 
wine.    275. 

Aeneid 
I. 

Arae      Sabaeo      ture      calent 
halantque         sertis.         Altars 
glowed  with  incense  and  were 
scented    with    fresh    garlands. 
416-417. 

Fragrantia  mella  thymo  redo- 
lent.   Fragrant  honey  is  redo- 
lent with  thyme.    436. 

Amaracus  aspirans  dulci  um- 
bra. Majoram,  breathing  upon 
him  with   her   fragrant   shad- 
ows.   694. 

Aeneid 
II. 

Loca   fumant   sulphnre.      The 
places     smoke    with     sulphur. 
698. 

Aeneid 
VI. 

Graveolentis 
Averni  noise- 
some  Avernus. 
201. 

Aeneid 
VII. 

Odoratam   cedrum.     Fragrant 
cedar.     13. 

Aeneid 
XI. 

0  lent  em  cedrum.   Fragrant  ce- 
dar.   137. 

Aeneid 
XII. 

Odorifcra  panacea.  Fragrance- 
bearing  panacea.    419. 

Ater  odor  vol- 
vitur.    Heavy 
odor   (of 
smoke)   rolls 
from  the  dwell- 
ings.   591. 

Study  of  Virgirs  Descriptions  of  Nature    179 

,  Motion 

Very  few  of  Vergil's  descriptions  are  without 
some  suggestion  of  motion,  either  a  waving  forest, 
a  shuddering  oak,  or  a  foaming  sea.  Of  the  one 
hundred  fifty-five  descriptions  under  analysis,  there 
are  only  fifteen  which  are  entirely  devoid  of 
suggestions  of  motion.  Twelve  of  these  are  in- 
cidental and  very  short.  The  descriptions  without 
motion  are  as  follows : 


Incidental 

Static 

Eclogue 

VII, 

49. 

Aeneid 

VIII, 

190 

Eclogue 

X, 

14. 

Aeneid 

VIII, 

597 

Georgic 

I, 

209. 

Aeneid 

XII, 

861 

Georgic 

I, 

340. 

Georgic 

I, 

430- 

Georgic 

III, 

45- 

Georgic 

IV, 

49. 

Aeneid 

I, 

310. 

Aeneid 

IV, 

461. 

Aeneid 

V, 

145- 

Aeneid 

VIII, 

26. 

Aeneid 

VIII, 

305- 

Not  all  the  words  which  suggest  motion  are 
picturesque.  In  Aeneid  VI,  179,  for  example,  the 
expression  "itur  in  silvam"  is  used.  "They  go  into 
the  woods."  But  while  the  verb  suggests  motion 
f  liere  is  nothing  pictorial  in  it.  Such  suggestions  of 
motion  as  this  are  very  numerous,  and  are  not  in- 
cluded in  the  list  of  references  to  motion  given 
below.  Therefore  the  following  list  is  not  intended 
to  be  exhaustive.  It  is  merely  a  summary  of  pic- 
turesque suggestions. 


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190  Study  of  Virgil's  Descriptions  of  Nature 

Hearing 

Of  the  two-hundred  fifty-six  appeals  to  the  sense 
of  hearing  which  Vergil  gives  in  his  descriptions, 
thirty-four  are  echo  descriptions,  sixty  are  onoma- 
topoetic,  seventeen  suggest  sound  by  describing 
silence;  and  one  hundred  forty-five  are  general 
appeals  to  the  sense  of  hearing  as  in  Eclogue  I,  57, 
Canet  frondator — The  vine  dresser  will  sing. 

The  onomatopoetic  effects  have  in  many  cases 
been  heightened  by  alliteration,  as:  Aeneid  I,  245, 
murmure  montis — the  murmur  of  the  mountain; 
and  Aeneid  II,  209,  Sonitus  fit  sale  spumante — The 
sound  of  the  seething  sea. 

The  grace  and  polish  of  Vergil's  suggestions  of 
sound  place  them  among  the  best  of  his  appeals  to 
the  senses.  The  following  table  summarizes  the  ap- 
peals to  the  sense  of  hearing  as  they  are  found  in 
the  descriptive  passages. 


Study  of  Virgil's  Descriptions  of  Nature   191 


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Study  of  Virgil's  Descriptions  of  Nature  21^ 
Summary 

It  is  not  to  be  expected  that  any  one  descriptive 
passage  would  appeal  to  all  the  senses  and  their 
subdivisions,  and  there  are  no  passages  which  em- 
brace an  appeal  to  every  sense.  Aeneid  III,  548, 
makes  appeal  to  the  senses  of  hearing,  form,  color, 
light  and  shade,  and  motion.  Aeneid  VI,  199, 
suggests  motion,  sound,  smell,  touch,  temperature, 
color,  and  light  and  shade.  There  are  many  other 
descriptions  which  have  as  wide  an  appeal  as  these 
cited. 

The  frequency  and  concreteness  of  these  appeals 
to  the  various  senses  have  given  the  poems  much  of 
their  interest.  Here,  from  the  standpoint  of 
technique,  the  work  most  nearly  strikes  the  modern 
note  in  literature. 


CHAPTER  IV 
Conclusion 

From  the  standpoint  of  technique,  which  alone 
we  are  considering  in  this  investigation,  the  nature 
descriptions  of  Vergil  are  worthy  of  study  and 
imitation.  As  regards  points-of-view,  personal, 
local,  and  temporal,  only  five  per  cent,  of  the  de- 
scriptions suffer  any  change.  We  may,  therefore, 
establish  as  a  part  of  Vergil's  literary  creed  the 
principle  that  the  point  of  view,  once  fixed,  should 
not  be  violated.  In  centering  and  outlining  his 
pictures,  however,  the  poet  does  nothing. 

In  his  appeals  to  the  different  senses  Vergil  is 
varied  and  concrete.  He  is  rational  here  too,  as  a 
comparison  of  the  various  tables  would  show.  For 
to  sight,  the  sense  which  brings  the  most  experience, 
he  appeals  the  most  frequently.  And  to  smell, 
the  sense  which  brings  the  least  experience,  he  ap- 
peals the  least  frequently.  In  the  study  of  these 
sense  appeals  it  is  of  interest  to  note  also  how  much 
Vergil  dwells  upon  the  beautiful  and  the  pleasing; 
and  how  little  he  refers  to  the  ugly  or  disagreeable. 
Among  the  thirty-eight  suggestions  of  form,  thirty- 
seven  refer  to  curves,  the  form  that  art  has  always 
considered  the  most  beautiful.  In  appeals  to  the 
sense  of  touch,  softness  is  more  frequently  sug- 
gested than  hardness ;  moisture,  than  dryness.  Yet 
roughness  is  much  more  commonly  referred  to  than 
is  smoothness.  References  to  coolness  are  brought 
into  the  descriptions  almost  one  hundred  per  cent, 
oftener  than  are  references  to  heat.  In  taste  there 
are  more  suggestions  of  mellowness  and  sweetness, 
than  of  sourness  and  bitterness.  And  sourness  is 
not  of  necessity  an  unpleasant  taste.    Of  the  twenty- 

214 


Study  of  Virgil's  Descriptions  of  Nature  215 

eight  appeals  made  to  the  sense  of  smell,  twenty- 
five  are  undoubtedly  pleasant,  while  only  three  are 
distinctly  disagreeable.  Of  color  and  sound  noth- 
ing definite  can  be  said,  for  beauty  of  coloring  and 
pleasantness  of  sound  are  largely  questions  of  per- 
sonal and  not  of  absolute  taste.  From  the  preced- 
ing study  a  second  principle  of  technique  may  be 
deduced;  namely,  that  sense  appeals  should  be 
numerous,  varied,  concrete  and  pleasurable. 

This  same  demand  for  the  pleasurable  is  appar- 
ent from  the  moods  of  these  descriptions.  For 
tenderness  and  sympathy,  most  frequently  of  all 
moods,  envelope  these  sketches.  To  be  sure,  a 
shade  of  melancholy  is  not  infrequently  traced  in 
these  pictures,  but  melancholy  is  very  closely  allied 
to  extreme  tenderness. 

In  summary,  therefore,  it  may  be  said  that  in 
regard  to  the  technique  of  centers  and  outlines  the 
poet  gives  us  nothing.  But  his  work,  is  very  well 
constructed  in  regard  to  points-of-view  and  in  re- 
gard to  sense  appeals.  It  is  likewise  very  strong 
in  the  mood  of  the  sketches  which  emphasizes  the 
pleasurable  above  the  painful.  And  the  insistence 
with  which  Vergil  dwells  upon  the  beautiful  and 
the  pleasure-giving  is  of  no  little  interest  in  these 
days  of  realism. 


INDEX 


Abrumpo,  196 

Abruptus,  182 

Abundo,   189 

Accendo,  189 

Acid  us  J   173 

Active    Descriptions,    3,    ii, 

12.     Tables,  68-71 
Acutus,   157,   161,   162 
Aestas,  167,   170 
A  est  if  er  J   168 

Aestus,  166,   167,   168,   169 
.^^/Vo,  181 
Albeo,  107 

Albesco,  84,  89,  96,   lOl 
y^/^z/y,  75,  78,  82,  86,  87,  89, 

90,    93,    97,    102,    103, 

104,  106,  107,  108 
Allabor,   188 
Alliteration,  190 
Amarus,   1 72,   1 73,    174,   1 75 
Anhelo,  207 
Anhelus,  193 
Apricus,  113,  119,  166,  168, 

170 
Arctos,   114 
^rcaf,  133 
Ardeo,   116,   118,   123,    132, 

134,  138,  149,  151,  167 
Arens,  166,   167,   1 68 
Areo,  167 
Argenteus,  75,   1 03 
Argentum,  104 
Argutus,  192,  194,  204 
^^^^r,    154,    156,    158,    159, 

161,  162,  163,  164,  165, 

174 
Aspero,   185 

A  strum  J  128,  132 


Ater,  76,  83,  84,  85,  86,  88, 

90,  92,  93,  94,  95,  96, 
97,  98,  100,  103,  105, 
106,  107,  123,  124,  126, 
127,  130,  133,  135,  138, 
139,  141,  146,  149,  151 

Auratus,  95,   105 

Aureus,  76,  79,  82,  84,  85, 
87,  92,  94,  97,  99,  100, 
loi,  102,  106 

A uricomus,  99 

Aurora,  117,  123,  131,  134, 
137,  140,  145,  148,  151 

Aurum,  86,  91,  94,  97,  100, 
lOI,  103 

Balatus,  192,  197,  207 
Bitterness,    171,     204.       See 

tables,  172-175 
Black,    75.      See    tables    78- 

109 
Blue,  75.     See  tables  78-109 

Cado,  184,   185 

Caecus,   76,    102,    120,    126, 

129,  135,  141 
Caelum,   114 
Caeruleus,    75,    83,    91,    94, 

95,  97,   lOl,   102,   103, 

105,  107 
Caligo,  118,  146,  148,  151 
Calmness,    1 5 
Color,  166,  168,  169 
Camur,  73 
Candens,  97,  105 
Candidus,  81,  82,  88,  90,  99, 

103,   115 
Candor,  95,  108 


217 


2l8 


Index 


Caneo,  86,   87,   89 

Cano,    191,    192,    194,    198, 

205,  212 
Conor,    197 
Canorus,  2o6 

Cantus,  194,  197,  204,  207 
Canus,    75,    79,   83,    85,   91, 

103 
Carmen,    199,   20I 
Cavatus,  73 
Cflz^Mf,  72,  73,  84 
Centre,    13,   214,   215.      See 

tables  16-46 
Changes   in   Point  of   View, 

II,    12 
Circus,  74 
Citus,   189 
Clamor,  193,  197,  199,  200, 

202,  208,  209,  210,  211 
Clangor,    200 
Clear,  75 
Cloud,  75.     See  table,   iii- 

153 

Cold,  166,  214.  See  tables, 
167-171 

Color,  72,  74-77,  214.  Ta- 
bles, 78-109 

Color,   80,    82,    83,    86,   93, 

97.  99 
Coloro,  92 

Comantem,  189 
Cometes,  147 
Concresco,   155,   160 
Concutio,  181,  183,  186 
Congemo,  200 
Conluceo,  133,  149 
Consono,    202,    206 
Contorqueo,    1 82 
Contrasting  Mood,  14 
Convexus,  73,  74 
Coqueo,  166,   169 
Coruscus,     115,     143,     181, 


184,  189 
Crepito,  192,  193,  202,  203, 

204,  209 
Croceus,  76,  80,  85,  94,  96, 

100,    104 
Cruentus,  76,  84,    104 
Curvatus,  73 
Curved     surfaces     72,     214. 

See  tables,  72-74. 
Curvus,  72,  73,  74 

Dark,  75.  See  tables,  78- 
109 

Darkness,  1 10.  See  tables, 
111-153 

Definite  points  of  view,  9-10 

Dehisco,  184 

Descriptions,  3.  Tables  16- 
71.  (See  under  Active, 
Formal,  Static,  Inciden- 
tal). 

Discolor,  100 

Dryness,  214.  See  tables, 
156-165 

Dulcis,  172,  173,   174,   178 

Durus,  155,  158,  159,  160, 
161,  162,  163,  164,  174 

Ebur,  85 
Echo,  190 
Effervo,   181 
Effulgeo,  144 
Enitesco,    118 
Erro,   180,    182,   184 
Excutio,   189 
Exulo,  185 

Ferveo,  130,  181 
Fervidus,  1 40 
Ferrugineus,  75,  92 
Fire,  no.     See  tables,  iii- 
153 


Index 


219 


Flagro,  114 

Flamtna,  115,  116,  118,  125, 
127,  130,  133,  136,  146, 
148,    151 

Flammo,    120 

Flaveo,  92,    I02 

Flavesco,   80 

Flavus,  76,  84,  97,  loi,  105 

Fluo,  180 

Form,  72,  214.  Tables,  72-74 

Formal  Descriptions,  3,  13. 
Tables,    16-46. 

Formlessness,  72.  See  ta- 
bles,  72-74. 

Fragor,    193,    2o6,    207,    208 

Fremitus,   1 95,   1 98 

Fremo,   184,    186,    192,   206, 

207,  209,  211 
Frequentative  point  of  view, 

13 

Frigidus,  166,  167,  168,  169, 

170 
Frigus,  167,   168,   169,   170 
Fugo,  185 

Fulgeo,   130,   140,   142,   143 
Fulgor,   134,    144 
Fulvus.  76,  89,  93,  95,  96, 

98,  100,  102,  105,  107, 

108 
Fumo,   140,   178 
Furiae,   188 
Furo,  188,   189 
Fury,  14 
Fuscis,  76,   103 

Garrulus,   198 

Gelidus,  166,  167,  168,  169, 
170,  171 

Gemitus,  200,  201,  203,  204, 

208,  210,  211 
Gemo,  197,  203,  209,  210 


General  Outline.  See  Out- 
line. 

General  Point  of  View,  lO 

General  Suggestions  of 
Sound,  190.  See  tables, 
191-214 

General  Suggestions  of 
Taste,  171.  See  tables, 
172-175 

Glacialis,   166,   169 

Glaucus,    76,    86,    93,    100, 

105 
Graveolens,    178 
Green,   75,   76.     See   tables, 

78-109 

Halo,  177,   .78 

Hardness,   214.      See   tables, 

156-165 
Hearing,  72,  190,  214.    Ta- 
bles,   191-211 
Heat,  166,  214.     See  tables, 

167-171 
Heavenly  Bodies,    no.     See 

tables,   111-153 
Hibernus,     166,      167,     168, 

169,    170 
H temps  Dura,  166,  169 
Hinnitu,   196 
Hirsutus,   154,   156 
Hirtus,   160 
Hollowed    Bodies,    72.      See 

tables,  72-74 
Horrens,  154,  160,  161,  164 
Horridus,     154,     156,     159. 

160,  161,  162,  163,  164 
Human      Misery,     Mockery 

of,   15 
Human  Mood,   15 
Humidity,    154.     See  tables, 

156-165 
Humidus,  154,  158,  159,  161 


220 


Index 


Igneus,  132,  142,  166,  168 
Ignis,    llT,    118,    119,    123, 

127,  128,  130,  143,  148, 

149,    151 
Imago,  197 
Immugio,  201 
Immurmuro,  1 97 
Impello,   183 
Incanesco,  87 
Incendium,   125 
Incendo,   134 
Incidental     Descriptions,     3, 

179.     See  tables,  47-67 
Increpo,    194 

Indefinite  Point  of  View,  12 
Indefinite      Suggestions      of 

Color,    75.       See    table 

78-109 
Induro,  155,  160 
Informis,   74 
Infremo,  208 
Ingemo,  191,  192 
Inhorresco,   185 
Insono,  204,  209 
Instabilis,  183 
Insulto,    189 
Intono,   199,  207 
Inumbro,    122 

Lactens,   76,   84 

Lapidosus,  155,  162 

Latebrosus,  15 1 

Latratus,  211 

Latro,  205 

Lentesco,  155,  159 

Lentus,  155,  161,  163,  187 

Levis,  180 

Levis,  158,  159 

L/^o,   172,   174 

Light   and    Shade,    73,    1 10. 

Tables,   111-153 
Lightning,   1 10.     See  tables, 

111-153 


Limosus,  154,  156 
Liqiddus,  75,  91,  92,   195 
Lividus,  99 
Local  point  of  View,  11-12. 

See  tables,   16-67 
Loquax,  196,  209,  210 
Loquor,  191,  192,  195 
L«ceo,  137,  145,  148 
Lucidus,  75,  85,   115 
Lucifer,   125,   143 
Luctor,   184 
Lumen,  115,   128,   130,   131, 

137,  140,  141,  143,  144, 

145,   151 
Luna,    116,    121,    127,    128, 

130,   131,  137,   140 
Lustro,  130,  141,  184 
Luteolus,   78 
Luteus,  76,  101 
L«a;,    115,     122,     125,     134, 

137,  142,  146,  149,  151 

Madeo,  155,  160 
Mansuesco,  155,  159 
Melancholy,  15,  215 
Mellowness,    171,  214,     See 

tables,    172-175 
Mitis,  172,  173 
Mockery   of   human    misery, 

15 

Mollis,  115,  156,  157,  158, 
159,  160,  161,  162,  163, 
164,  172 

Mood,  14,  15,  215.  See  ta- 
bles, 16-71 

Moisture,  154,  214.  See 
tables,    156-165 

Motion,     72,    179.      Tables, 

180-189 
Mo  to,   180 
Motus,    184 
Moveo,  182 


Index 


221 


Mugio,  203,  206,  207 
Mugitus,  195,  196,  209 
Murix,  77,  80 
Murmur,     193,     199,      201, 
203,  204,  208,  209,  211 
Murmuro,   2o8 
Musso,  197,  210 
Mutus,  209 

Nidor,  177 

Niger,  76,  81,  84,  85,  87, 
88,  89,  90,  91,  92,  93, 
96,  97,  98,  100,  103, 
104,  105,  106,  107 

Nigrae  Violae,  77,   83 

Nigrans,  95,  97,  lOO 

Nigra  Vaccinia,  77,  83 

Nimbosus,  128 

Nimbus,  127 

M^^o,  115,  137 

Nitidus,  118,   141 

Nivalis,  94,   109,   166,   169 

Mreuj,  75,  76,  81,  83,  88, 
90,  91,  94,  99,  lOI 

Nixor,  186 

Noctivagus,  147 

Nocturnus,  119,  140 

A^ojf,  114,  116  ,  120,  122, 
125,  126,  127,  128,  129, 
130,  132,  133,  134,  136, 

137,  138,  139,  140,  143. 

144,  145,  146,  148,  149 
Nubes,  123,  130,  133 
Nubilum,     114,     117,     120, 

127,    141 

Obedience,  14 

Objective  Point  of  View,  9 

Obscuro,  151 

Obscurus,     116,     126,     127, 

130,   131,   132,   136 
Obumbro,    152 


Odor,  177,   178 
Odoratus,   176,   177,   178 
Odorifer,    178 
Olentes,    176,    177,    178 
Onomatopoetic,      190.       See 

tables,    191-211 
Opaco,  118,  137,  143 
Opacus,    76,   83,    99,     100, 

127,  132,  138,  140,  145, 

146,  148 
Ostro,   77,    107 
Outline,  13.     See  tables,  16- 

46 

Fallens,  76,  79,  80,  81,  92 
Pal  I  id  us,  75,  85 
Pando,   181,   183 
Personal   Point  of  View,  9- 

II 
Phaethon,   134 
Phoebus,  130,  147,  149 
Piceus,  76,  95,   118 
P ictus,  89,  95 
Place.      See   Local    Point   of 

View. 
Placidus,   187,    188 
Plango,    193 
Plaiido,   186 
Point  of    View,    9-13,   215. 

See  tables,  16-71. 
Proruptus,    1 84 
Protective   Interest,    14-15 
Pullis,  76,  91 
Pulso,  202 

Puniceus,  76,  80,  89,   108 
Purple,  75,  76,  77 
Purpura,  92 
Purpureus,    77,    80,    83,    86, 

91,  92,  97,  99,  104,  107 
Purus,  75,  90,  91,  lOl 

Quatio,  187 
Quest  us,  199 


222 


Index 


Quiesco,  185 
Quietus,  202 

Radius,  117,  134,  144 
Rainbow,    1 10.      See   tables, 

111-153 

Rapax,   183 

Rapidus,  181,   187,   189 

Raucus,  191,   193,   197,  203, 

206,  207 
Reboo,    196 
RecaleOj  166,   1 71 
Reclamo,  196 
Red,  75,  76 
Redoleo,    177,    178 
Refero,   igi,   197,  207 
Reflections,  1 10.     See  tables, 

111-153 
Refulgeo,  125,  136 
Remugio,  196,  207,  210 
Remit  to  J  210 
Remurmuro,   208 
Renideo,  118 
Repercutio,  143 
Resido,   187 
Resistance,   154.     See  tables, 

156-165 
Resolvo,  180. 
Resons,   191,    192,   193,    194, 

200,  204 
Resplendeo,  152 
Responso,  2lO 
Resulto,   202,    206 
Retego,   132,    134 
Rosctdus,  154,  156,  163 
Rosens,  76,  99,   lOi 
/?o^o,  188 
Roughness,    154,    214.      See 

tables,    156-165 
Rubeo,   79,   80,   83,   85,   86, 

87,  91,  105,  107 
Ruber,  76,  89 


Rubesco,  86,  94,    lOi,   102 

Rubicundus,    84 

Rubor,  85,  108 

Rudo,  200 

Rumor,  206 

Rumpo,   183,   187 

i?tto,  186 

Rutilo,   144 

Rutilus,  76,  102,  122 

Saetiger,  154,  163,  164,  165 

Saetosus,   154,    156 

Saevio,  204 

5fl/.  175 

5«/fo,  180,  181 

Salsus,  173,  175 

Saltiness,  171,  214.  See  ta- 
bles, 172-175 

Sandyx,  76,  80 

Sanguineus,  76,  81,  83,  94, 
97,   105,   107 

5'G/)or,  173 

5c«^^r,    154,    159 

Scrupeus,   154,   163 

5eco,  188 

Sense  Appeals,  3,  72,  213, 
214,  215.  See  tables 
under  various  senses. 

Shade.  See  Light  and  Shade. 

Shadow,  no.  See  tables, 
111-153 

Sharpness,  154.  See  tables, 
156-165 

Sibilo,  209 

Sibilus,   196,  202 

Siccus,  158,   159,   174 

Sidereus,    128,    146 

Sidus,    118,    120,    131,    133, 

135 
Sight,  72,  154,  214     See  ta- 
bles under  Color,  Form 
and  Light  and  Shade. 


Index 


223 


Silence,  190.  See  tables,  191- 

211 
Sileo,  192,    195,    197.    I99> 

201,  204,  207,  208 
Sirius,  123,  147 
Sitio,  172 
Sitis,  173 
Sky,    no.     See  tables,    iii- 

153 
Smell,  72,    176,    214,    215. 

Tables,   iT]-i1^ 

Smoothness,  154,  214.  See 
tables,   156-165 

Softness,  154,  214.  See  ta- 
bles, 156-165 

Sol,  115,  116,  117,  118, 
120,  122,  123,  136, 
137,  142,  143,  144,  146, 
151,   166,   167 

Sonitus,  193,  195,  196,  197, 
198,  199,  200,  205,  207, 
208,  209,  210,  211 

Sono,  192,  193,  195,  196, 
197,  198,  199,  203,  204, 
205,  206,  207,  208,  209, 
210,  212 

Sonor,  196 

Sonorus,   199 

Sonus,  198 

Sourness,  171,  214.  See  ta- 
bles,  172-175 

Spar  go,   186 

Spiro,  177,   181 

Splendeo,  140 

Splendesco,  114 

Spumeus,  184 

Spumo,  183,  185,  186,  189 

Squalens,    1 54,    1 59 

Squarneus,  154,  163 

Static  Descriptions,  3,  ii, 
12.     Tables,    16-67 

Stella,  132,  133,  138,  149 


Sterno,   186 

Strepito,   193 

Strepo,  192,  204 

Strideo,  191,  198,  199,  200, 
201,  207,  208,  209,  210, 
211,  212 

Stridor,  194,  195,  199,  201, 
203,  205,  206,  211,  212 

Stridulus,  210 

Suavis,   1 74 

Subjective  Point  of  View,  9- 
10 

Subluceo,  122 

Subsido,   186 

Susurro,    197 

Susurrus,  191 

Sweetness,  171,  214.  See  ta- 
bles,  172-175 

Taceo,  20 1 

Tacitus,  199,  200,  203,  206, 

208 
Taeda,  140,   145 
Taste,  72,  171,  214.    See  ta- 
bles, 172-175 
Temperature,   72,   166,  214. 

Tables,  ib^-iTi 
Tempero,  166,   168 
Temporal    Point    of    View, 

12-13.     See  tables,    16- 

67. 
Tenderness,  14,  215 
Tenebrae,    114,      I20,      128, 

134,  137,  143,  145,  146, 

148,    150 
Tenebrosus,  136 
Tener,  155,   156,   157 
Tepefacio,  169 
Tepeo,  170 

Tepidus,  166,  168,  169,  171 
Teres,  163 
Texo,  180 


224 


Index 


Thirst,  171.  See  tables,  172- 

175 

Thumb-nail  Sketches,  3 

Thurifer,  177 

Time.  See  Temporal  Point 
of  View. 

Titan,  132 

Tonitrus,  20I,   202 

Tono,  194,  196,  201,  202, 
207,   208,   211 

Torqueo,  183,   187,   188 

Torreo,  166,  168,  169,  1 70, 
180 

Torridus,    167,    168 

Touch,  72,  154,  214.  Ta- 
bles  156-165 

Tremulus,    187 

Trepidus,   187 

Tristis,   173 

Tumeo,  184,  187 

Turbidus,    1 86 

Turbo,   182 

IJdus,  155,  160,  162 

Vlulo,  193,  201,  203,  204 

Umbra,  ill,  1 12,  113,  1 14, 
115,  119,  120,  121,  123, 
124,  125,  127,  131,  132, 

136,  I37>  138,  139,  141, 
145,  146,  149,  150,  152, 

153 
Umbrifer,  137 

UmbrOj  130 

JJmbrosus,  76,  I02,  ill, 
120,   144 


Umeo,    162 

Umidus,  162,   164,   165.  See 

Humidus 
Uncus,  73 
Undefined     Point    of   View, 

10 
Undo,  182,  183,  185 
Undosus,  186 
Urgeo,   181 
Uro,   140 

Vaccinia,  77 

Vaccus,  76,  96 

Ventosus,  1 80 

Verbero,  188,   189 

Vesper,    1 12,    115,    120,    134 

FfZro,  188 

Violae,  77,  83 

Violet,    77.      See   tables,    78- 

109 
V  ire  eta,  1 00 

Fir^o,  82,  89,  91,  99,  100 
Viridis,   76,   78,   81,   82,   83, 

86,  89,  90,  92,  93.  94, 

95,  97.  98,  99,  102,  103 
Viridor,  98,   lOl 
Virosus,    177 
Voco,   194,   197 
Volubilis,  187 
Fo/t^o,  183,  185 
Vox,   194,     195,     197,    200, 

201,  202,  203,  205,  209 
Vulcanus,   143 

Yellow,  75,  76.     See  tables, 
78-109 


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